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laleh khorramian
About the Artist
Laleh Khorramian (b. 1974, Tehran, Iran) is a celebrated, multidisciplinary artist who lives and works in New York. Raised in Orlando, Florida, Khorramian obtained her BFA at The School of the Art Institute of Chicago in 1997, followed by an MFA at Columbia University’s School of the Arts, New York, in 2004.
Her work has been shown in a number of prestigious institutions and spaces, such as the BALTIC Centre for Contemporary Art, Newcastle, UK; the Liverpool Bienniale; The Third Line, Dubai; Times Square, New York; the Saatchi Gallery, London; MoMA PS1, New York; and the Thaddaeus Ropac Gallery, Salzburg. She has also been the recipient of various awards, including the Agnes Martin Award; the BALTIC Artists’ Award; and the Pollock Krasner Foundation Grant.
Khorramian is a maximalist who brings together colours, textures and forms to create densely layered and lyrical works. Using various mediums, such as animation, collage, monotype and drawing, she often collaborates with fashion designers and performers, transposing her fluid visual language onto manifold terrains. As she says, ‘After so many years I found that I can’t just make one thing.’
Laleh Khorramian. Courtesy the artist and Art21
WORKS IN THE COLLECTION
Laleh Khorramian "Landscape Scroll 3", 2016
Monotype and mixed media on polypropylene, 131.826 × 50.8 cm
Courtesy the artist and The Third Line, Dubai
To create monotypes such as Landscape Scroll 3 (2016), Khorramian paints onto glass before laying a piece of paper over it then pulling it away swiftly to reveal an inverted image. The glass is wiped and used again. In this way, she produces image after image lifted from the glass, each one communicating a unique artistic narrative, each one taking a different form as the artist engages with and embraces the randomisation inherent to the process.
The artist herself has aptly described what she does as a ‘factory of complete surprises’. In this work, she exploits the unpredictability of monotype to create a landscape that appears somehow familiar to the viewer yet is unrelated to any natural scene.
The effect is delicate; colour and paint seem to have behaved much as they might in a watercolour, despite the fact the image sits on polypropylene. The piece appears removed from all preconceptions of history or time, allowing the viewer to appreciate a spectacle of nature embodied by pure visual form.